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THE EFFECT OF COLOR MATERIALS ON STUDENT PERFORMANCE OF
ORIGINAL MUSIC COMPOSITIONS

















By

LACEY CUPP


A MASTER'S PROJECT PRESENTED TO THE GRADUATE SCHOOL OF THE
UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS
FOR THE DEGREE OF MASTER OF MUSIC

UNIVERSITY OF FLORIDA

2009
































� 2009 Lacey Cupp
































To my parents and my husband, Joe.









TABLE OF CONTENTS

page

LIST O F FIG U R E S .................................................................. 6

LIST O F O BJECTS .............. ....................................................................... 7

A B S T R A C T .................... ....................................................................... ..... 8

CHAPTER

1 IN T R O D U C T IO N .................................................................. ......................... . . . . 9

P ro b le m of the S tudy ......... .. .......................................................... ....... ...... 9
Significance of the Problem ......... .. . ............................................................. 10
P purpose of the S tudy ......... ......................................................... ... ............. . . 11
D elim stations ......... .. ............................................................................. 11
D definition of T erm s.................................................... 11

2 REVIEW OF LITERATURE ..................... ......... ..................... 12

Introduction ........................................... 12
Philosophical Rationale.............................. ............... 12
Theoretical Rationale.. ........................................................ ..................... 13
R e se a rch S tud ies ..................................................................... 14

3 METHODOLOGY AND PROCEDURES................... ................. 16

Introduction ........................... ............... 16
Procedures ................... ......... ..................... 16
Data Collection and Analysis .............. ...... .......... ........... ......................... 19

4 R ES U LTS ......... ..... ......... ....................................................................... 21

5 D ISC U SS IO N ............. . ......... .................................................................... 24

APPENDIX

A LESSO N PLA N S ............. . .............................................................. ...... 29

B INSTITUTIONAL REVIEW BOARD LETTER ............................... 33

C PARENTAL CONSENT FORM .............................. .................. ... 34

D STUDENT ASSENT FORM ......... ............. ........... ................ ............... 36









LIST OF REFERENCES .......... ...... ........... . ....... ......... 37

BIOGRAPHICAL SKETCH .................... ... .... .......... .......... 38









LIST OF FIGURES

Figure age

3-1 Student in Group One using non-color mallets........................... ... ............... 18

3-2 Student in Group Two using color mallets ........ ........ .............. .. .............. . 18

3-3 Student com position tem plate ..................................................................... 20

5-1 Composition by student #105. ........................ ............... 26

5-2 Com position by student #209 ........... ................. ....................... . ....... .... .. 27









LIST OF OBJECTS

Object page

5-1 Student #209 composition performance. (.wav file, 2MB) ............. .................. 27









Summary of Project Option in Lieu of Thesis
Presented to the Graduate School of the University of Florida
in Partial Fulfillment of the Requirements for the
Degree of Master of Music

THE EFFECT OF COLOR MATERIALS ON
STUDENT PERFORMANCE OF ORIGINAL MUSIC COMPOSITIONS

By

Lacey Cupp

December 2009

Chair: Timothy Brophy
Major: Music Education

The purpose of this study was to determine the extent to which color materials

affected student performance of original music compositions. Twenty-five second-grade

students were instructed to compose a melody for a learned rhyme using only the

available pitches on the xylophone. The music teacher guided both groups of students

through the composition process. Students in Group One used regular pencils to notate

their compositions and non-colored mallets to perform their composition on the

xylophone. Students in Group Two used colored pencils to notate their compositions.

These students performed on the xylophone using colored mallets, which coordinated

with the notation of their composition.

Performances were recorded and analyzed for accuracy. A point was awarded

for each note played as written with a maximum of sixteen points. Student scores

ranged from three to sixteen points. A t-test result of p=.03 indicated students using

color materials performed more accurately than students using non-color materials.









CHAPTER 1
INTRODUCTION

National standards for music education (Music Educators National Conference,

1994), developed by the MENC Task Force for National Standards in the Arts, guide

teachers in developing music curriculum. These standards include skills and techniques

such as singing, playing instruments, reading and notating music, and the areas of

cultural and historical connections. The standards that present the greatest challenge to

music educators, however, are those pertaining to creating and communicating through

music (Lehman, 2008). According to the standards, students should improvise

melodies, variations, and accompaniments, and compose and arrange music within

specific guidelines.

Because teaching students to compose and perform their own music is

challenging for music educators, this standard is often overlooked. Yet, with a guided

process and appropriate teaching strategies and materials, perhaps music educators

and students would find composition more approachable.

Problem of the Study

When it comes to students creating their own music, the music teacher may find

notation to be the greatest problem. In addition, the challenge of reading notation and

transferring the information to the instrument may inhibit the accuracy of students'

performance of their own compositions. However, if students are to share their ideas

musically and become true musical communicators, they need opportunities to

compose their own music (Ginocchio, 2003, p. 51).

As elementary students begin reading music notation, the transfer of information

from paper to instrument or from instrument to paper is a challenging concept. Though









students may visually recognize music notes as representations of musical sounds and

be capable of verbally decoding the letter names or solfege symbols of the pitches,

playing the pitches on an instrument presents an eye-hand coordination challenge.

Often, elementary music teachers face this obstacle and find unsatisfactory results in

students' performance on classroom instruments such as the xylophone.

Many elementary music teachers implement teaching strategies and methods to

assist students in playing the xylophone successfully. For example, teachers may focus

on technique and posture, may remove unnecessary bars from the instrument, may use

mnemonic devices to direct students, or may provide visual reinforcement of the

material. Even with these strategies, some students still experience difficulty in

decoding written music notation and transferring it to the xylophone.

Significance of the Problem

Teaching young students to compose and perform their own music presents

many challenges. Yet, if music educators are to address this national standard within

the curriculum, it is important that teaching strategies and materials offer appropriate

experiences for music students. It is also important that students feel confident in their

abilities to notate and perform their own creations. Failure to provide composition

opportunities at the elementary school level because of the challenges involved not only

excludes one of the national standards for music education, but also deprives students

of the creative process and performance of their own original work.

Various factors may affect music educators' exclusion of composition in the

elementary music classroom. Music teachers may not have experienced the process of

composition enough themselves to feel comfortable teaching it to their students.

Teachers may be concerned that the notation skills necessary are too difficult to teach.









Another factor may be the amount of class time required for a composition project. All of

these factors and others may contribute to an elementary music educator's choice to

avoid composition. Finding materials and processes that ensure student success and

can be implemented with ease are significant aspects of this study.

Purpose of the Study

The purpose of this study is to determine the effects of color materials on student

performance of music composition. Results of this study may be useful to elementary

music educators as they determine the most effective teaching method for performance

accuracy on pitched instruments. By assessing students' performance accuracy of their

own compositions, the types of materials used for instruction can be evaluated. The

following research question guided the study: To what extent does utilizing colored

pencils and colored mallets affect the accuracy of students' performance of their own

compositions?

Delimitations

The following will not be accounted for in this study: previous music experience

or lessons, music aptitude, rhythmic accuracy, general classroom experience, gender,

or ethnicity.

Definition of Terms

solfege: The use of syllables in association with pitches as a mnemonic device

for indicating melodic intervals (Hughes & Gerson-Kiwi, n.d.).









CHAPTER 2
REVIEW OF LITERATURE

Introduction

The review of literature begins with the philosophical foundations of the study

and a review of various philosophers' perspectives on the topic of composition.

Philosophies of music educators such as Bennett Reimer and David Elliot are

examined. A theoretical rationale is presented for the study, which includes theories on

teaching composition. Finally, this section closes with research studies on notation and

the use of color materials.

Philosophical Rationale

When addressing the task of composing, music educators and philosophers find

it is a critical component of the music curriculum. According to Bennett Reimer,

"composition is a mode of musical study which can be most effective for clarifying how

music works and for giving the actual experience of bringing music to birth" (Reimer,

1970, p.118). Children of all ages can use the experience of composing to utilize

learned skills and cultivate notation skills. A healthy sense of personal musical

responsibility is also a benefit of the student composition process (Reimer, 1970).

Reimer explains that "children can become more musically responsive through music

making, which therefore constitutes an important element of general music education

(Reimer, 1970, p. 118).

Musicing, as David Elliott explains, is the intentional action of making music

through performance. According to Elliott, music literacy and decoding of music notation

should be taught and learned through musicing and musical problem solving (Elliott,

1995, p. 61). Presenting students with musical challenges and opportunities for problem









solving can be accomplished through musical performances and projects like

composing (Elliott, 1995, p. 72). Elliott suggests that performance of a musical work is

especially valuable in assessing musical achievement because it provides authentic and

tangible evidence of a person's moment-to-moment musical understanding (Elliott,

1995, p. 76).

Theoretical Rationale

Guiding students through a structured composition activity with clear limitations

may help insure success in the composition process. Brophy (1996, p. 17) concludes

that "guided composition is an excellent technique for building confidence in students'

creative and notational skills". Guided composition involves the instructor controlling as

many parameters of the composition as necessary for the developmental level of the

student composers. Brophy (1996, p. 15) states that "a beginning composer who is not

yet familiar with music notation needs to become personally involved in writing music

within a context that is creative, comfortable, and developmentally appropriate in order

to build his or her understanding of musical signs and symbols."

The guided composition process is systematic. First, the educator sets the

necessary parameters for successful composing and notation by the students.

Depending on the developmental level of the students, these parameters may include

rhythm, length, scale, clef, and ending pitches. Next, the students learn the prescribed

aspects of the composition, and practice notating these elements individually. After

gaining an understanding of these elements, students improvise a melody on an

instrument set up with the pitches determined by the educator. When students have

developed a melody they prefer, they notate that melody in a first draft. Once students

have finalized the composition, they are asked to create a final copy using the









appropriate form of notation determined by the educator. Brophy provided examples of

appropriate parameters for elementary student compositions as well as assessment

strategies for evaluating the students' progress. Brophy concluded that the result of the

guided composition process is "a positive hands-on learning experience that gives your

students the opportunity to become personally involved with music notation in a

satisfying and successful manner" (Brophy, 1996, p. 18).

Research Studies

Rogers (1996) investigated the relationship of colored notation on students'

ability to read rhythms. In Rogers study, though rhythmic values of varying notes were

not consistently notated in the same color, students who received instruction using

colored notes read rhythms with greater accuracy than students who did not learn with

colored notes. Rogers concluded that such colors may have increased student interest

in the process itself. In a similar study, Rogers (1991), researched the use of color as an

instructional tool and learning aid and found statistically significant results. He noted that

students trained with color-coded notation may have associated particular colors to

corresponding pitches, but may also have become dependent on the color when sight-

reading new music.

According to Rogers (1996, pg .15), there is a considerable body of educational

research outside music suggesting that the use of color in instructional materials can

improve student performance and retention. Hebb's theories and a hypothesis by Peters

(1981) suggest a plausible explanation for the efficacy of multisensory teaching

approaches in general and the use of color-coded instructional materials in particular

(Rogers, 1991, pg. 64). Stimuli received through several senses excite more neurons in

several localized areas of the cortex, thereby reinforcing the learning process and









improving retention. Similarly, color-coded notation activates more cell assemblies and

phase sequences (Hebb's terms for associations of neurons) than uncolored notation

(Rogers, 1991).

Aside from Rogers's research, few studies investigate the use of color in music

education materials. Specifically, the current researcher has not discovered any

literature investigating the use of colored mallets in performing color-coded notation.

Cutietta and Haggerty (1987, p. 91) concluded that further understanding of color

associations to music might produce valuable insights that can be used in forming new

instructional strategies.









CHAPTER 3
METHODOLOGY AND PROCEDURES

Introduction

An action research study and nonequivalent group comparison guided this study.

Participants consisted of 25 second-grade students between the ages of 7 and 8 years

who attended general music class once each week. Non-random sampling was used as

students attended music class according to their assigned homeroom. The data

collection instrument included a composition template and scoring tool created by the

tearcher-researcher. Parents received consent forms and the students received assent

forms to complete prior to the research study.

Procedures

The study took place at a rural elementary school in north central Florida. The

school is comprised of approximately 225 students, 75% percent of whom are eligible

for federal free or reduced-price lunch program. The school's ethnic groups include 67%

white students, 23% black, six percent multiracial, 3% Hispanic, less than 1% American

Indian, and less than 1% Asian/Pacific Islander.

Second-grade students were selected to participate in the study. The teacher-

researcher instructed the students for 6 weeks prior to beginning the study. During this

time, the students learned rhythm reading and notating skills and performed movements

to a steady beat. The teacher-researcher was not aware of the students' previous

experience with composing. Therefore, a guided composition approach was chosen that

used only two pitches notated on one staff line.

The second-grade students attended music class in two separate homeroom

groups. All students received the same initial instruction from the music teacher.









Through two consecutive music classes, students learned a four-measure rhyme and

discovered the rhythmic notation of the rhyme together with teacher guidance (Appendix

A). The teacher and students said the rhyme, played the rhyme on non-pitched

percussion instruments, and then notated the rhythm of the rhyme using iconic notation.

Students were then guided to notate the rhythm of the rhyme using standard notation of

quarter notes, quarter rests, and eighth notes.

In the following two class meetings, students were taught how to compose a

melody for the rhyme using only the pitches "sol" and "mi" (Appendix A). Students in

Group One notated their compositions using a regular pencil and played their

composition using non-colored mallets (Figure 3-1). Students in Group Two notated

their compositions using a green colored pencil for "sol" and an orange colored pencil

for "mi" (Figure 3-2). The color of the notation corresponded to the color placed on the

mallets used for performance. Because "sol" was notated using a green colored pencil,

the mallet used to play "sol" on the xylophone was also labeled green. "Mi" was notated

using an orange colored pencil and the mallet used to play "mi" was labeled orange.

Color was added to the mallets using a 2-inch-wide strip of colored paper wrapped

around the stick of the mallet. The teacher set up the xylophones with only the two

necessary pitches available to the students.





















Figure 3-1. Student in Group One using non-color mallets


Figure 3-2. Student in Group Two using color mallets









Data Collection and Analysis

Students were provided with a composition template created by the teacher-

researcher (Figure 3-3). The template included a blank line with the solfege labels "sol",

above the line, and "mi", below the line. The text of the rhyme was provided along with

the quarter rests in the rhythm. Students composed their pieces individually and were

allowed practice time on a xylophone before performing their compositions.

Students within each group were assigned a number to ensure anonymity in the

data collection and analysis process. This number was written on the student's

composition and stated by the researcher on the audio recording prior to each student's

performance. The teacher-researcher then made an audio recording of each student's

performance for later evaluation.

Upon collecting student data, scores were determined by listening to the audio

recording and marking each note on the students' written composition. If the note was

played correctly, the student received one point. If the note was played incorrectly, the

student received no point. Each student received a total score based on the number of

notes played correctly. A total of sixteen notes were written and played in each

composition. Mean, median, and mode were calculated for each data set. A T-test was

performed to determine the statistical significance of the results.








Student #


Mama Caught a Flea


sol I I I


One, two, three.


Ma - ma caught a


Flea died, Ma - ma cried. One, two, three.


Figure 3-3. Student composition template.


flea!









CHAPTER 4
RESULTS

Results for the two groups were collected on a scoring tool, which indicated the

accuracy of each note in the composition. As the teacher-researcher listened to each

recorded student performance, a score was given for each note played. One point was

awarded for a note played as notated in the student's composition. No point was

awarded for an incorrect note. Table 4-1 shows note accuracy of students in Group One

who used non-color materials. Table 4-2 shows note accuracy of students in Group Two

who used color materials.

Mean, median, and mode were calculated for the two groups. The mean for Group

One was 12.07 while the mean for Group Two was 15. However, the median and mode

were 16 for both groups. This is a result of Group One scores ranging from 3 to 16. Low

scores in Group One (3, 5, 7, 7, 9) contributed to a much lower mean for the group. The

range of scores for Group Two was 8 to 16, with only one student scoring below 15

points. Therefore, the mean for Group Two was much higher than the mean for Group

One.

A two-sample unequal variance t-test was performed comparing the data sets. The

probability associated with a student's paired t-Test, with a one-tailed distribution, was

p=0.03. Therefore, the observed difference between students using non-color materials

and those using color materials was statistically significant and not due to chance.









Table 4-1. Group One, non-color materials, note accuracy by student.
Note 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Total

Student #

101 0 0 0 0 0 0 0 0 1 1 1 1 1 0 0 0 5

102 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

103 1 1 1 0 1 1 0 11 1 1 0 0 0 0 0 9

104 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

105 0 0 0 1 1 1 1 11 1 1 1 1 0 0 0 10

106 0 0 0 1 1 1 0 0 0 0 0 0 0 0 0 0 3

107 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

108 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

109 1 1 1 1 0 1 0 1 0 1 1 0 1 1 1 1 12

110 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

111 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

112 0 0 0 1 0 1 0 0 0 0 0 1 1 1 1 1 7

113 1 1 1 0 1 1 0 0 0 0 0 1 1 0 0 0 7

114 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

115 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16









Table 4-2. Group Two, color materials, note accuracy by student.
Note 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Total

Student #

201 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

202 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

203 1 1 1 1 1 1 1 1 1 1 1 1 0 1 1 1 15

204 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

205 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

206 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

208 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

209 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 8

210 1 1 1 1 1 1 1 1 1 1 1 1 0 1 1 1 15

211 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

Note: Data excluded for student 207 because no parental consent was provided.


Table 4-3. Comparison of results from Group One and Group Two.

Group Mean Median Mode sd
1* 12.07 16 16 4.62

2** 15 16 16 2.37


Note: * non-color materials
** color materials









CHAPTER 5
DISCUSSION

Utilizing the most effective teaching method for student composition is essential to

the success of student performance. Both groups in this study experienced the same

guided composition process with prescribed parameters for their songs. This process

provided developmentally appropriate rhythms and pitches, practice with notation skills,

a template for creating the final product, and an instrument with only the necessary

pitches available. Because of the guided process, the teacher found the composition

project to be accessible to the students with few difficulties.

Materials utilized in this study were necessary to determine the effect of color on

student performance accuracy. Performance results of this study indicate a statistically

significant comparison of playing accuracy with a t-test result of p=.03. Students in

Group One had a mean score of 12.07 while students in Group Two had a mean score

of 15. However, the median and mode of the two groups were the same.

Students in Group One notated their compositions using a non-colored pencil and

played the xylophone with non-colored mallets (Figure 5-1). Though the average score

for this group was only 12.07, eight of the fifteen students played their compositions with

no mistakes. Students in Group One who scored considerably lower were observed

playing the instrument with little regard for the notation of their composition. Several of

these students played the rhythm of the rhyme accurately, but appeared to be

improvising the melody as they performed. It is not clear if the students in Group One

who did not play accurately were unable to decode the notation system or if they were

unsure which mallet corresponded with the pitches. According to the teacher-









researcher's observations, the accurate pitches these students played seemed to occur

by chance.

Students in Group Two had an average score of 15 and seven of the ten

students played their compositions with no mistakes. An interesting observation was

made of students #203 and #210, both whom scored 15. While notating their

compositions, these students used the incorrect corresponding color for one note. To

notate the low pitch "mi" below the line, the students used a green colored pencil. This

only occurred for note #13 in both students' compositions. When the students played

the written note, both performed according to the color of the notation using the green

mallet and not the location of the note below the line. This mistake did not appear

elsewhere in the notation and did not cause the students to make additional mistakes

while performing.

Student #209 had a score of 8 and began making mistakes when moving from

Line 1 to Line 2 of the song. This student played all pitches in Line 2 with the wrong

mallet. Various explanations could account for this confounding variable. The student

may have vision problems or experience difficulty when decoding symbols. These

variables were not accounted for in this study. Figure 5-2 and Object 5-1 show Student

#209's composition notation and performance.










Student # l__


Mama Caught a Flea


sol I 1 1

One, two, three. Mo - ma caught a flea!





I - -I I i-


d
Flea died,


Ma - ma cried.


One
One,


two, three.


Figure 5-1. Composition by student #105.
Note: Student #105 notated using a non-colored pencil. The beginning and
ending phrase were written as "mi, sol, mi", but performed as "sol, mi, sol".











Student #


Mama Caught a Flea



sol
mi
One, two, three. Ma - 'a caught a flea!








Flea died, Ma r-ma cried. One, t , three.






Figure 5-2. Composition by student #209.

Object 5-1. Student #209 composition performance. (.wav file, 2MB)

Results of this study indicate that color material does affect student performance

accuracy of their own compositions. Students who utilized colored pencils to notate and

colored mallets to perform their compositions played with greater accuracy than

students who used non-color materials. Although the type of materials used was likely

the cause of this result, other extraneous variables were not taken into account. Not all

students involved in the study attended this school prior to the current school year.

Therefore, the background knowledge and experience of playing the xylophone may

have affected the students' performance. Individual student learning abilities within the

two groups may have affected retention of skills throughout the four class meetings and









may have affected the understanding of the musical concepts. Finally, the motivation

provided by the use of colored pencils and mallets may have increased student interest

in the project.

Previous research suggests that use of color materials may increase student

retention and music notation reading. The current study indicated this may be true as

students notate and perform their own compositions. Further research is needed to

corroborate these findings.

Results of this study may be useful to elementary music educators. Using the

guided composition process with color materials provides students the opportunity to

compose and perform successfully. Music educators need not be hesitant to teach

composition, even to the youngest of students. If providing students with the aid of color

notation and mallets increases their accuracy, educators should consider utilizing this

teaching method.

As the teacher-research in this study, these findings are especially useful to me.

Student performances were more accurate when using color materials, and teaching

the concepts involved in the composition process was made easier. Coordination of

colors between the notation and the mallets was useful when referring to a pitch with

the group using color materials. Guided composition with color materials is a teaching

method I intend to continue using with young students who have little experience with

notation. As students master the concepts involved in composing, notating, and

performing their own music, color materials may no longer be needed.











APPENDIX A
LESSON PLANS


Music Lesson Plan


Grade Level: 2nd grade
Date: 9/10-9/11


Lesson Activity: 1, 2, 3. Mama Caught a Flea!
-Lesson 1


Concepts: Expression Form Melody Timbre Texture/Harmony

Skills: ing Payi Creating Listening/Analyzing


Vocabulary: Materials and Equipment:
beat, rhythm, quarter note, quarter rest, non-pitched percussion instruments, flea magnets,
eighth notes rhythm notation board

Objectives:
TLW sing on pitch.
TLW perform movements to the steady beat.
TLW notate a rhythm using iconic notations and quarter notes, quarter rests, and eighth notes.

Sunshine State Standards Achieved:
Skills and Techniques
0 1. The student sings, alone and with others, a varied repertoire of music. M.U.A. 1.1 (1,2)
0 2. The student performs on instruments, alone and with others, a varied repertoire of music. M.U.A. 2.1 (1)
0 3. The student reads and notates music. M.U.A. 3.1 (1)
Creation and Communication
o 1. The student improvises melodies, variations and accompaniments. M.U.B.1.1 ()
o 2. The student composes and arranges music within specific guidelines. M.U.B.2.1 ()
Cultural and Historical Connections
O 1. The student understands music in relation to culture and history. M.U.C.1.1 ()
Aesthetic and Critical Analysis
O 1. The student listens to, analyzes, and describes music. M.U.D.1.1 ()
o 2. The student evaluates music and music performances. M.U.D.2.1 ()
Applications to Life
O 1. The student understands the relationship between music, the arts, and disciplines outside the arts. M.U.E.1.1 ()
o 2. The student understands relationships between music and the world beyond the school setting. M.U.E.2.1 ()


Procedure:
1. Good morning - echo song
2. Steady beat movement activity - teacher-led, non-locomotor
3. Focused listening questions: "What insect is in this rhyme?" "What happens to the insect?" "Who
is the person in the rhyme?" "How does that person feel?"
4. Speak rhyme. (One, two, three. Mama caught a flea. Flea died, Mama cried. One, two, three.)
5. Answer focused listening questions.
6. Teach rhyme by rote, echo phrase by phrase. Clap and speak rhythm. Transfer to non-pitched
percussion instruments.
6. Notate rhythm of words using iconic notation of one flea, two fleas, or no fleas on a beat.
7. Discover standard notation of quarter notes, quarter rests, and eighth notes for rhyme.











Music Lesson Plan


Grade Level: 2nd grade
Date: 9/17-9/18


Lesson Activity: 1, 2, 3. Mama Caught a Flea!
-Lesson 2


Concepts: Expression m Form y Timbre Texture/Harmony

Skills: ing ayi Moving Creating n Listening/Analyzing


Vocabulary: Materials and Equipment:
beat, rhythm, quarter note, quarter rest, flea magnets, rhythm notation board, white boards
eighth notes & markers, mallets, xvlophones

Objectives:
TLW sing on pitch.
TLW notate and perform a rhythm using quarter notes, quarter rests, and eighth notes.
TLW notate a melody containing the pitches sol and mi.

Sunshine State Standards Achieved:
Skills and Techniques
0 1. The student sings, alone and with others, a varied repertoire of music. M.U.A. 1.1 (1,2)
0 2. The student performs on instruments, alone and with others, a varied repertoire of music. M.U.A. 2.1 (1)
0 3. The student reads and notates music. M.U.A. 3.1 (1)
Creation and Communication
0 1. The student improvises melodies, variations and accompaniments. M.U.B.1.1 (2)
0 2. The student composes and arranges music within specific guidelines. M.U.B.2.1 ()
Cultural and Historical Connections
O 1. The student understands music in relation to culture and history. M.U.C.1.1 ()
Aesthetic and Critical Analysis
O 1. The student listens to, analyzes, and describes music. M.U..1.1 ()
O 2. The student evaluates music and music performances. M.U.D.2.1 ()
Applications to Life
O 1. The student understands the relationship between music, the arts, and disciplines outside the arts. M.U.E.1.1 ()
O 2. The student understands relationships between music and the world beyond the school setting. M.U.E.2.1 ()


Procedure:
1. Good morning song - echo song
2. Recall rhyme from previous lesson. Display rhythm with flea notation. Change to standard
notation.
3. Practice writing rhythm of rhyme on white boards.
4. Pat rhythm on legs, alternating hands. Transfer to mallets. Practice with mallets on knees.
5. Model mallet technique on xylophones. Discuss location of high and low sounds. Explore the
instrument.
6. Improvise melody using the rhythm of the rhyme. Discuss the need and desire to notate song.











Music Lesson Plan


Grade Level: 2nd grade
Date: 9/24-9/25


Lesson Activity: 1, 2, 3. Mama Caught a Flea!
-Lesson 3


Concepts: Expression m Form Timbre Texture/Harmony

Skills: ing ayg Moving in Listening/Analyzing


Vocabulary: Materials and Equipment:
beat, rhythm, quarter note, quarter rest, mallets, xylophones, Student Assent Forms
eighth notes, sol. mi

Objectives:
TLW sing on pitch.
TLW notate and perform a rhythm using quarter notes, quarter rests, and eighth notes.
TLW notate and perform a melody containing the pitches sol and mi.

Sunshine State Standards Achieved:
Skills and Techniques
0 1. The student sings, alone and with others, a varied repertoire of music. M.U.A. 1.1 (1,2)
0 2. The student performs on instruments, alone and with others, a varied repertoire of music. M.U.A. 2.1 (1)
0 3. The student reads and notates music. M.U.A. 3.1 (1)
Creation and Communication
0 1. The student improvises melodies, variations and accompaniments. M.U.B.1.1 ()
R 2. The student composes and arranges music within specific guidelines. M.U.B.2.1 ()
Cultural and Historical Connections
O 1. The student understands music in relation to culture and history. M.U.C.1.1 ()
Aesthetic and Critical Analysis
O 1. The student listens to, analyzes, and describes music. M.U.D.1.1 ()
O 2. The student evaluates music and music performances. M.U.D.2.1 ()
Applications to Life
O 1. The student understands the relationship between music, the arts, and disciplines outside the arts. M.U.E.1.1 ()
O 2. The student understands relationships between music and the world beyond the school setting. M.U.E.2.1 ()


Procedure:
1. Review rhyme from previous lesson and rhythm on the chart.
2. Sing sol, mi patterns using words and rhythm from the rhyme. Add hand signs to show high and
low.
3. Discover notation of sol mi patterns on a one-line staff, notating sol (high) sounds above the staff
line and mi (low) sounds below the staff line.
Group 1: Use only black notation for pitches;
Group 2: Use green notes for sol, orange notes for mi.
4. Compose a melody for the rhyme as a class on board. Practice playing on knees, then xylophones.
5. Tell students that next week they will compose their own melody for the rhyme, choosing sol or mi
for each note.
6. Distribute and sign Student Assent Forms.









Music Lesson Plan


Grade Level: 2nd grade
Date: 10/1-10/2


Lesson Activity: 1, 2, 3. Mama Caught a Flea!
-Lesson 4


Concepts: Expression m Form E Timbre Texture/Harmony

Skills: Moving in i Listening/Analyzing


Vocabulary: Materials and Equipment:
beat, rhythm, quarter note, quarter rest, mallets, xylophones, composition templates, pencils
eighth notes, sol. mi, compose

Objectives:
TLW sing on pitch.
TLW notate and perform a rhythm using quarter notes, quarter rests, and eighth notes.
TLW create and perform a melody containing the pitches sol and mi.

Sunshine State Standards Achieved:
Skills and Techniques
0 1. The student sings, alone and with others, a varied repertoire of music. M.U.A. 1.2 (1,2)
0 2. The student performs on instruments, alone and with others, a varied repertoire of music. M.U.A. 2.2 ()
0 3. The student reads and notates music. M.U.A. 3.2 ()
Creation and Communication
O 1. The student improvises melodies, variations and accompaniments. M.U.B.1.2 ()
0 2. The student composes and arranges music within specific guidelines. M.U.B.2.2 ()
Cultural and Historical Connections
O 1. The student understands music in relation to culture and history. M.U.C.1.2 ()
Aesthetic and Critical Analysis
0 1. The student listens to, analyzes, and describes music. M.U.D.1.2 ()
O 2. The student evaluates music and music performances. M.U.D.2.2 ()
Applications to Life
O 1. The student understands the relationship between music, the arts, and disciplines outside the arts. M.U.E.1.2 ()
O 2. The student understands relationships between music and the world beyond the school setting. M.U.E.2.2 ()


Procedure:
1. Good morning song - echo song
2. Review reading and playing sol, mi patterns on xylophones.
3. Distribute teacher-prepared composition templates.
Group 1: regular pencils only
Group 2: green colored pencil for sol, orange colored pencil for mi
4. Model aligning notes with words; allow students to choose and notate their own melodies.
5. Practice individual melodies at instruments.
Group 1: non-colored, neutral mallets
Group 2: green mallet for sol, orange mallet for mi
6. Allow each student to perform own composition from their notation. Record each performance for
later scoring.











APPENDIX B
INSTITUTIONAL REVIEW BOARD LETTER


W Institutional Review Board
UNIVERSITY of FLORIDA


PO Box 112250
Gainesville, FL 32611-2250
352-392-0433 (Phone)
352-392-9234 (Fax)
irh2rufl.edu


August 12, 2009


TO: Lacey Cupp
t2 MrlF 11th Ctrrat


FROM:


Gainesville, FL 32609
Ira S. Fischler, PhD; ChairJ'S
University of Florida
Institutional Review Board 02


SUBJECT: Approval of Protocol #2009-U-0824


TITLE:


The Effect of Color Materials on Student Performance of Music Composition


SPONSOR: None

I am pleased to advise you that the University of Florida Institutional Review Board has
recommended approval of this protocol. Based on its review, the UFIRB determined that this
research presents no more than minimal risk to participants. Your protocol was approved as
an expedited study under category 7: Research on individual or group characteristics or
behavior (including, but not limited to, research on perception, cognition, motivation,
identity, language, communication, cultural beliefs or practices, and social behavior) or
research employing survey, interview, oral history, focus group, program evaluation, human
factors evaluation, or quality assurance methodologies. Given your protocol, it is essential
that you obtain signed documentation of informed consent from the parent or Legal guardian
of each participant. When it is feasible, you should obtain signatures from both parents.
Enclosed is the dated, IRB-approved informed consent to be used when recruiting participants
for the research.

It is essential that the parents/guardians of your minor participants sign a copy of
your approved informed consent that bears the IRB approval stamp and expiration
date.


If you wish to make any changes to this protocol, including the need to increase the number
of participants authorized, you must disclose your plans before you implement them so that
the Board can assess their impact on your protocol. In addition, you must report to the Board
any unexpected complications that affect your participants.

The approval of this study is valid through August 11. 2010. If you have not completed the
study by this date, please telephone our office (392-0433), and we will discuss the renewal
process with you. It is important that you keep your Department Chair informed about the
status of this research protocol.

ISF:dl


An Equal Opportunlit Intitution











APPENDIX C
PARENTAL CONSENT FORM








Department of Music

PO Box 117900

University of Florida

Cainesville, FL 32611-7900

Parental Consent

Dear Parent/Guardian,

I am a graduate student in the Department of Music at the University of Florida, conducting
research on notating and playing of music compositions under the supervision of Dr. Timothy
Brophy. The purpose of this study is to compare the playing accuracy of students who use
regular paper and pencil to notate music compositions with those of students who use color
pencils and mallets. The results of the study may help teachers better understand the notation and
playing of student compositions and allow them to design instructional practices accordingly.
These results may not directly help your child today, but may benefit future students. With your
permission, I would like to ask your child to volunteer for this research.

Half of the participating children will notate their compositions using regular pencils, while the
other children notate their compositions using colored pencils. Children will then be asked to
play their compositions. Those children using regular pencil will use non-colored mallets to play,
while the children using colored pencils will use corresponding colored mallets. Your child's
teacher will present the procedure during music class. The procedure will take place during three
consecutive class meetings. With your permission, your child will be audio recorded during the
instructional period. The audio recording will be accessible only to the researcher for verification
purposes. At the end of the study, the recording will be erased. The children will be asked to
identify themselves by random number only and their identity will be kept confidential to the
extent provided by law. Results will only be reported in the form of group data. Participation or
non- participation in this study will not affect the children's grades or placement in any
programs.

You and your child have the right to withdraw consent for your child's participation at any time
without consequence. There are no known risks or immediate benefits to the participants. No
compensation is offered for participation. Group results of this study will be available in
December upon request. If you have any questions about this research protocol, please contact
me at 352-468-1451 or my faculty supervisor, Dr. Brophy, at 352-273-3193. Questions or
concerns about your child's rights as research participant may be directed to the IRB02 office,
University of Florida, Box 112250, Gainesville, FL 32611, (352) 392-0433.

Lacey Cupp
Approved by
University of Florida
Institutional Review Board 02
Protocol # 2009-U-0824
For Use Through 08-11-2010
















I have read the procedure described above. I voluntarily give my consent for my child,

, to participate in Lacey Cupp's study of notation and playing of music

compositions. I have received a copy of this description.


Parent / Guardian


2nd Parent / Witness


Date


Date


Approved by
University of Florida
Institutional Review Board 02
Protocol # 2009-U-0824
For Use Through 08-12010











APPENDIX D
STUDENT ASSENT FORM







Student Assent Form

I am Mrs. Cupp and I am a graduate student at the University of Florida. I am studying
about how children compose music, and I'd like you to participate. If you do this, you
will get to write your own music and perform it on the xylophone. We will spend three
music classes on this project. You do not have to do this if you don't want to, and if you
start and don't like it, you can quit at anytime. Other than the myself and your
classmates, no one will hear your performance. Whatever you decide, this will not
affect your grades. Your parent/guardian said it would be OK for you to do this. Are you
interested?


Yes, I am willing to participate in this study.

No, I am not willing to participate in this study.



Student's Signature Date










Approved by
University of Florida
Institutional Review Board 02
Protocol # 2009-U-0824
For Use Through 08-11-2010









LIST OF REFERENCES


Brophy, T. S. (1996). Building music literacy with guided composition. Music Educators
Journal, 83(3), 15-18.

Cutietta, R. A., & Haggerty, K. J. (1987). A comparative study of color association with
music at various age levels. Journal of Research in Music Education, 35(2), 78-91.

Ginocchio, J. (2003). Making composition work in your music program. Music Educators
Journal, 90(1), 51-55.

Green, L. (2005). The music curriculum as lived experience: Children's "natural" music-
learning processes. Music Educators Journal, 91(4), 27-32.

Hickey, M. (1999). Assessment rubrics for music composition. Music Educators Journal,
85(4), 26-33.

Hughes, A. and Gerson-Kiwi, E. (n.d.). Solmization. Retrieved October 4, 2009, from
Grove Music Online Web site: http://www.oxfordmusiconline.com.lp.hscl.ufl.
edu/subscriber/article/grove/music/26154

Jetter, J. T. (1977). A systematic approach to aural-visual identification instruction in
music for young children. Journal of Research in Music Education, 25(1), 21-31.

Lehman, P. (2008). A vision for the future: looking at the standards. Music Educators
Journal, 94(4), 28-32.

MENC Task Force for National Standards in the Arts, & Music Educators National
Conference (U.S.). (1994). The school music program: A new vision: The K-12
national standards, preK standards, and what they mean to music educators.
Reston, VA: Music Educators National Conference.

Moore, B. R. (1990). The relationship between curriculum and learner: Music
composition and learning style. Journal of Research in Music Education, 38(1),
24-38.

Reimer, B. (1970). A Philosophy of Music Education. Englewood Cliffs, NJ: Prentice-
Hall, Inc.

Rogers, G. L. (1991). Effect of color-coded notation on music achievement of
elementary instrumental students. Journal of Research in Music Education, 39(1),
64-73.

Rogers, G. L. (1996). Effect of colored rhythmic notation on music-reading skills of
elementary students. Journal of Research in Music Education, 44(1), 15-25.









BIOGRAPHICAL SKETCH

Lacey Anne Cupp earned a Bachelor of Music Education degree from Missouri

State University in Springfield, Missouri, in December 2004, graduating with honors,

summa cum laude. While a student at Missouri State, Lacey was a member of the

Concert Chorale under the direction of Dr. Guy Webb and studied voice with Dr. Rose

Mary Owens. Lacey was also a member of a student-organized female a cappella

group.

Upon graduation, she moved to Gainesville, Florida and began teaching chorus

and piano keyboarding at Buchholz High School. She then taught general music in

Gainesville at Norton Elementary School for 2 years. The following school year, Lacey

began teaching general music in Marion County, at Reddick-Collier Elementary School.

She then returned to Alachua County and began teaching general music and gifted

education at Waldo Community School.

Lacey also owns and operates Kindermusik with Lacey Cupp, as a licensed

Kindermusik Educator providing a music education curriculum to preschool-aged

children. After completing her Master of Music degree, Lacey plans to continue to teach

elementary music.



PAGE 1

1 THE EFFECT OF COLOR MATERIALS ON STUDENT PERFORMANCE OF ORIGINAL MUSIC COMPOSITIONS By LACEY CUPP A MASTER’S PROJECT PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2009

PAGE 2

2 2009 Lacey Cupp

PAGE 3

3 To my parents and my husband, Joe.

PAGE 4

4 TABLE OF CONTENTS page LIST OF FIGURES .......................................................................................................... 6 LIST OF OBJECTS ......................................................................................................... 7 ABSTRACT ..................................................................................................................... 8 CHAPTER 1 INTRODUCTION ...................................................................................................... 9 Problem of the Study ................................................................................................ 9 Significance of the Problem .................................................................................... 10 Purpose of the Study .............................................................................................. 11 Delimitations ........................................................................................................... 11 Definition of Terms .................................................................................................. 11 2 REVIEW OF LITERATURE .................................................................................... 12 Introduction ............................................................................................................. 12 Philosophical Rationale ........................................................................................... 12 Theoretical Rationale .............................................................................................. 13 Research Studies ................................................................................................... 14 3 METHODOLOGY AND PROCEDURES ................................................................. 16 Introduction ............................................................................................................. 16 Procedures ............................................................................................................. 16 D ata Collection and Analysis .................................................................................. 19 4 RESULTS ............................................................................................................... 21 5 DISCUSSION ......................................................................................................... 24 APPENDIX A LESSON PLANS .................................................................................................... 29 B INSTITUTIONAL REVIEW BOARD LETTER ......................................................... 33 C PARENTAL CONSENT FORM ............................................................................... 34 D STUDENT ASSENT FORM .................................................................................... 36

PAGE 5

5 LIST OF REFERENCES ............................................................................................... 37 BIOGRAPHICAL SKETCH ............................................................................................ 38

PAGE 6

6 LIST OF FIGURES Figure page 3 1 Student in Group One using noncolor mallets ................................................... 18 3 2 Student in Group Two using color mallets .......................................................... 18 3 3 Student composition template. ........................................................................... 20 5 1 Composition by student #105. ............................................................................ 26 5 2 Composition by student #209. ............................................................................ 27

PAGE 7

7 LIST OF OBJECTS Object page 5 1 Student #209 composition performance. (.wav file, 2MB) .................................. 27

PAGE 8

8 Summa ry of Project Option in Lieu of Thesis Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Master of Music THE EFFECT OF COLOR MATERIALS ON STUDENT PERFORMANCE OF ORIG INAL MUSIC COMPOSITIONS By Lacey Cupp December 2009 Chair: Timothy Brophy Major: Music Education The purpose of this study was to determine the extent to which color materials affected student performance of original music compositions. Twenty five se condgrade students were instructed to compose a melody for a learned rhyme using only the available pitches on the xylophone. The music teacher guided both groups of students through the composition process. Students in Group One used regular pencils to notate their compositions and noncolored mallets to perform their composition on the xylophone. Students in Group Two used colored pencils to notate their compositions. These students performed on the xylophone using colored mallets, which coordinated with the notation of their composition. Performances were recorded and analyzed for accuracy. A point was awarded for each note played as written with a maximum of sixteen points. Student scores ranged from three to sixteen points. A t test result of p=.03 indicated students using color materials performed more accurately than students using noncolor materials.

PAGE 9

9 CHAPTER 1 INTRODUCTION National standards for music education (Music Educators National Conference, 1994), developed by the MENC Task Force for Nati onal Standards in the Arts, guide teachers in developing music curriculum. These standards include skills and techniques such as singing, playing instruments, reading and notating music, and the areas of cultural and historical connections. The standards t hat present the greatest challenge to music educators, however, are those pertaining to creating and communicating through music (Lehman, 2008). According to the standards, students should improvise melodies, variations, and accompaniments, and compose and arrange music within specific guidelines. Because teaching students to compose and perform their own music is challenging for music educators, this standard is often overlooked. Yet, with a guided process and appropriate teaching strategies and material s, perhaps music educators and students would find composition more approachable. Problem of the Study When it comes to students creating their own music, the music teacher may find notation to be the greatest problem. In addition, the challenge of reading notation and transferring the information to the instrument may inhibit the accuracy of students’ performance of their own compositions. However, if students are to share their ideas musically and become true musical communicators, they need opportunities to compose their own music (Ginocchio, 2003, p. 51). As elementary students begin reading music notation, the transfer of information from paper to instrument or from instrument to paper is a challenging concept. Though

PAGE 10

10 students may visually recognize music notes as representations of musical sounds and be capable of verbally decoding the letter names or solfge symbols of the pitches, playing the pitches on an instrument presents an eye hand coordination challenge. Often, elementary music teachers face t his obstacle and find unsatisfactory results in students’ performance on classroom instruments such as the xylophone. Many elementary music teachers implement teaching strategies and methods to assist students in playing the xylophone successfully. For example, teachers may focus on technique and posture, may remove unnecessary bars from the instrument, may use mnemonic devices to direct students, or may provide visual reinforcement of the material. Even with these strategies, some students still experience difficulty in decoding written music notation and transferring it to the xylophone. Significance of the Problem Teaching young students to compose and perform their own music presents many challenges. Yet, if music educators are to address this national standard within the curriculum, it is important that teaching strategies and materials offer appropriate experiences for music students. It is also important that students feel confident in their abilities to notate and perform their own creations. Failure to provide composition opportunities at the elementary school level because of the challenges involved not only excludes one of the national standards for music education, but also deprives students of the creative process and performance of their own ori ginal work. Various factors may affect music educators’ exclusion of composition in the elementary music classroom. Music teachers may not have experienced the process of composition enough themselves to feel comfortable teaching it to their students. Teachers may be concerned that the notation skills necessary are too difficult to teach.

PAGE 11

11 Another factor may be the amount of class time required for a composition project. All of these factors and others may contribute to an elementary music educator’s choice to avoid composition. Finding materials and processes that ensure student success and can be implemented with ease are significant aspects of this study. Purpose of the Study The purpose of this study is to determine the effects of color materials on student performance of music composition. Results of this study may be useful to elementary music educators as they determine the most effective teaching method for performance accuracy on pitched instruments. By assessing students’ performance accuracy of their own compositions, the types of materials used for instruction can be evaluated. The following research question guided the study: To what extent does utilizing colored pencils and colored mallets affect the accuracy of students’ performance of their own compositions? Delimitations The following will not be accounted for in this study: previous music experience or lessons, music aptitude, rhythmic accuracy, general classroom experience, gender, or ethnicity. Definition of Terms solfge: The use of syllables in association with pitches as a mnemonic device for indicating melodic intervals (Hughes & GersonKiwi, n.d.).

PAGE 12

12 CHAPTER 2 REVIEW OF LITERATURE Introduction The review of literature begins with the philosophical foundations of the study and a review of various philosophers’ perspectives on the topic of composition. Philosophies of music educators such as Bennett Reimer and David Elliot are examined. A theoretical rationale is presented for the study, which includes theories on teaching composition. Finally, this section closes with research studies on notation and the use of color materials. Philosophical Rationale When addressing the task of composing, music educators and philosophers find it is a critical component of the music curriculum. According to Bennett Reimer, “composition is a mode of musical study which can be most effective for clarifying how music works and for giving the actual experience of bringing music to birth” (Reimer, 1970, p.118). Children of all ages can use the experience of c omposing to utilize learned skills and cultivate notation skills. A healthy sense of personal musical responsibility is also a benefit of the student composition process (Reimer, 1970). Reimer explains that “children can become more musically responsive through music making, which therefore constitutes an important element of general music education (Reimer, 1970, p. 118). Musicing, as David Elliott explains, is the intentional action of making music through performance. According to Elliott, music literacy and decoding of music notation should be taught and learned through musicing and musical problem solving (Elliott, 1995, p. 61). Presenting students with musical challenges and opportunities for problem

PAGE 13

13 solving can be accomplished through musical performa nces and projects like composing (Elliott, 1995, p. 72). Elliott suggests that performance of a musical work is especially valuable in assessing musical achievement because it provides authentic and tangible evidence of a person’s moment to moment musical understanding (Elliott, 1995, p. 76). Theoretical Rationale Guiding students through a structured composition activity with clear limitations may help insure success in the composition process. Brophy (1996, p. 17) concludes that “guided composition is an excellent technique for building confidence in students’ creative and notational skills”. Guided composition involves the instructor controlling as many parameters of the composition as necessary for the developmental level of the student composers. Brophy (1996, p. 15) states that “a beginning composer who is not yet familiar with music notation needs to become personally involved in writing music within a context that is creative, comfortable, and developmentally appropriate in order to build his or her understanding of musical signs and symbols.” The guided composition process is systematic. First, the educator sets the necessary parameters for successful composing and notation by the students. Depending on the developmental level of the students, these parameters may include rhythm, length, scale, clef, and ending pitches. Next, the students learn the prescribed aspects of the composition, and practice notating these elements individually. After gaining an understanding of these elements, students improv ise a melody on an instrument set up with the pitches determined by the educator. When students have developed a melody they prefer, they notate that melody in a first draft. Once students have finalized the composition, they are asked to create a final co py using the

PAGE 14

14 appropriate form of notation determined by the educator. Brophy provided examples of appropriate parameters for elementary student compositions as well as assessment strategies for evaluating the students’ progress. Brophy concluded that the r esult of the guided composition process is “a positive hands on learning experience that gives your students the opportunity to become personally involved with music notation in a satisfying and successful manner” (Brophy, 1996, p. 18). Research Studies Rogers (1996) investigated the relationship of colored notation on students’ ability to read rhythms. In Rogers study, though rhythmic values of varying notes were not consistently notated in the same color, students who received instruction using colored notes read rhythms with greater accuracy than students who did not learn with colored notes. Rogers concluded that such colors may have increased student interest in the process itself. In a similar study, Rogers (1991), researched the use of color as an i nstructional tool and learning aid and found statistically significant results. He noted that students trained with color coded notation may have associated particular colors to corresponding pitches, but may also have become dependent on the color when sight reading new music . According to Rogers (1996, pg .15), there is a considerable body of educational research outside music suggesting that the use of color in instructional materials can improve student performance and retention. Hebb's theories and a hypothesis by Peters (1981) suggest a plausible explanation for the efficacy of multisensory teaching approaches in general and the use of color coded instructional materials in particular (Rogers, 1991, pg. 64). Stimuli received through several senses ex cite more neurons in several localized areas of the cortex, thereby reinforcing the learning process and

PAGE 15

15 improving retention. Similarly, color coded notation activates more cell assemblies and phase sequences (Hebb's terms for associations of neurons) than uncolored notation (Rogers, 1991). Aside from Rogers’s research, few studies investigate the use of color in music education materials. Specifically, the current researcher has not discovered any literature investigating the use of colored mallets in performing color coded notation. Cutietta and Haggerty (1987, p. 91) concluded that further understanding of color associations to music might produce valuable insights that can be used in forming new instructional strategies.

PAGE 16

16 CHAPTER 3 METHODOLOGY AND PRO CEDURES Introduction An action research study and nonequivalent group comparison guided this study. Participants consisted of 25 secondgrade students between the ages of 7 and 8 years who attended general music class once each week. Nonrandom sampling w as used as students attended music class according to their assigned homeroom. The data collection instrument included a composition template and scoring tool created by the tearcher researcher. Parents received consent forms and the students received asse nt forms to complete prior to the research study. Procedures The study took place at a rural elementary school in north central Florida. The school is comprised of approximately 225 students, 75% percent of whom are eligible for federal free or reducedpri ce lunch program. The school’s ethnic groups include 67% white students, 23% black, six percent multiracial, 3% Hispanic, less than 1% American Indian, and less than 1% Asian/Pacific Islander. Secondgrade students were selected to participate in the study . The teacher researcher instructed the students for 6 weeks prior to beginning the study. During this time, the students learned rhythm reading and notating skills and performed movements to a steady beat. The teacher researcher was not aware of the students’ previous experience with composing. Therefore, a guided composition approach was chosen that used only two pitches notated on one staff line. The secondgrade students attended music class in two separate homeroom groups. All students received the sam e initial instruction from the music teacher.

PAGE 17

17 Through two consecutive music classes, students learned a four measure rhyme and discovered the rhythmic notation of the rhyme together with teacher guidance (Appendix A). The teacher and students said the rhym e, played the rhyme on nonpitched percussion instruments, and then notated the rhythm of the rhyme using iconic notation. Students were then guided to notate the rhythm of the rhyme using standard notation of quarter notes, quarter rests, and eighth notes . In the following two class meetings, students were taught how to compose a melody for the rhyme using only the pitches “sol” and “mi” (Appendix A). Students in Group One notated their compositions using a regular pencil and played their composition using noncolored mallets (Figure 31). Students in Group Two notated their compositions using a green colored pencil for “sol” and an orange colored pencil for “mi” (Figure 3 2). The color of the notation corresponded to the color placed on the mallets used f or performance. Because “sol” was notated using a green colored pencil, the mallet used to play “sol” on the xylophone was also labeled green. “Mi” was notated using an orange colored pencil and the mallet used to play “mi” was labeled orange. Color was added to the mallets using a 2inch wide strip of colored paper wrapped around the stick of the mallet. The teacher set up the xylophones with only the two necessary pitches available to the students.

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18 Figure 31. Student in Group One using noncolor malle ts Figure 3 2. Student in Group Two using color mallets

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19 Data Collection and Analysis Students were provided with a composition template created by the teacher researcher (Figure 33). The template included a blank line with the solfge labels “sol”, a bove the line, and “mi”, below the line. The text of the rhyme was provided along with the quarter rests in the rhythm. Students composed their pieces individually and were allowed practice time on a xylophone before performing their compositions. Students within each group were assigned a number to ensure anonymity in the data collection and analysis process. This number was written on the student’s composition and stated by the researcher on the audio recording prior to each student’s performance. The teacher researcher then made an audio recording of each student’s performance for later evaluation. Upon collecting student data, scores were determined by listening to the audio recording and marking each note on the students’ written composition. If the note was played correctly, the student received one point. If the note was played incorrectly, the student received no point. Each student received a total score based on the number of notes played correctly. A total of sixteen notes were written and played in each composition. Mean, median, and mode were calculated for each data set. A Ttest was performed to determine the statistical significance of the results.

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20 Student # _____ M a ma C a u g ht a F lea so l mi One, tw o , th r e e. Ma m a caug h t a flea! Flea d ie d , Ma m a crie d . One, tw o , thr e e. Figure 33. Student composition template.

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21 CHAPTER 4 RESULTS Results for the two groups were collected on a scoring tool, which indicated the accuracy of each note in the composition. As the teacher researcher listened to each recorded student performance, a score was given for each note played. One point was awarded for a note played as notated i n the student’s composition. No point was awarded for an incorrect note. Table 41 shows note accuracy of students in Group One who used noncolor materials. Table 42 shows note accuracy of students in Group Two who used color materials. Mean, median, and mode were calculated for the two groups. The mean for Group One was 12.07 while the mean for Group Two was 15. However, the median and mode were 16 for both groups. This is a result of Group One scores ranging from 3 to 16. Low scores in Group One (3, 5, 7, 7, 9) contributed to a much lower mean for the group. The range of scores for Group Two was 8 to 16, with only one student scoring below 15 points. Therefore, the mean for Group Two was much higher than the mean for Group One. A two sample unequal vari ance t test was performed comparing the data sets. The probability associated with a student's paired t Test, with a onetailed distribution, was p=0.03. Therefore, the observed difference between students using noncolor materials and those using color materials was statistically significant and not due to chance.

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22 Table 41. Group One, noncolor materials, note accuracy by student. Note 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Total Student # 101 0 0 0 0 0 0 0 0 1 1 1 1 1 0 0 0 5 102 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 103 1 1 1 0 1 1 0 1 1 1 1 0 0 0 0 0 9 104 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 105 0 0 0 1 1 1 1 1 1 1 1 1 1 0 0 0 10 106 0 0 0 1 1 1 0 0 0 0 0 0 0 0 0 0 3 107 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 108 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 109 1 1 1 1 0 1 0 1 0 1 1 0 1 1 1 1 12 110 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 111 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 112 0 0 0 1 0 1 0 0 0 0 0 1 1 1 1 1 7 113 1 1 1 0 1 1 0 0 0 0 0 1 1 0 0 0 7 114 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 115 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16

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23 Table 42. Group Two, color materials, note accuracy by student. Note 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 Total Student # 201 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 202 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 203 1 1 1 1 1 1 1 1 1 1 1 1 0 1 1 1 15 204 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 205 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 206 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 208 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 209 1 1 1 1 1 1 1 1 0 0 0 0 0 0 0 0 8 210 1 1 1 1 1 1 1 1 1 1 1 1 0 1 1 1 15 211 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 16 Note: Data excluded for student 207 because no parental consent was provided. Table 43. Comparison of results from Group One and Group Two. Note: * noncolor materials ** color materials Group Mean Median Mode sd 1* 12.07 16 16 4.62 2** 15 16 16 2.37

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24 CHAPTER 5 DISCUSSION Utilizing the most effective teaching method for student composition is essential to the success of student performance. Both groups in this study experienced the same guided composition process with prescribed parameters for their songs. This process provided developmentally appropriate rhythms and pitches, practice with notation skills, a template for creating the final product, and an instrument with only the necessary pitches available. Because of the guided process, the teacher found the composition project to be accessible to the students with few difficulties. Materials utilized in this study were necessary to determine the effect of color on student perf ormance accuracy. Performance results of this study indicate a statistically significant comparison of playing accuracy with a t test result of p =.03. Students in Group One had a mean score of 12.07 while students in Group Two had a mean score of 15. Howev er, the median and mode of the two groups were the same. Students in Group One notated their compositions using a noncolored pencil and played the xylophone with noncolored mallets (Figure 5 1). Though the average score for this group was only 12.07, eight of the fifteen students played their compositions with no mistakes. Students in Group One who scored considerably lower were observed playing the instrument with little regard for the notation of their composition. Several of these students played the r hythm of the rhyme accurately, but appeared to be improvising the melody as they performed. It is not clear if the students in Group One who did not play accurately were unable to decode the notation system or if they were unsure which mallet corresponded with the pitches. According to the teacher -

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25 researcher’s observations, the accurate pitches these students played seemed to occur by chance. Students in Group Two had an average score of 15 and seven of the ten students played their compositions with no mi stakes. An interesting observation was made of students #203 and #210, both whom scored 15. While notating their compositions, these students used the incorrect corresponding color for one note. To notate the low pitch “mi” below the line, the students use d a green colored pencil. This only occurred for note #13 in both students’ compositions. When the students played the written note, both performed according to the color of the notation using the green mallet and not the location of the note below the line. This mistake did not appear elsewhere in the notation and did not cause the students to make additional mistakes while performing. Student #209 had a score of 8 and began making mistakes when moving from Line 1 to Line 2 of the song. This student played all pitches in Line 2 with the wrong mallet. Various explanations could account for this confounding variable. The student may have vision problems or experience difficulty when decoding symbols. These variables were not accounted for in this study. Figur e 52 and Object 51 show Student #209’s composition notation and performance.

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26 Figure 51. Composition by student #105. Note: Student #105 notated using a noncolored pencil. The beginning and ending phrase were written as “mi, sol, mi”, but performed as “sol, mi, sol”.

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27 Figure 52. Composition by student #209. Object 5 1. Student #209 composition performance. (.wav file, 2MB) Results of this study indicate that color material does affect student performance accuracy of their own compositions. Students who utilized colored pencils to notate and colored mallets to perform their compositions played with greater accuracy than students who used noncolor materials. Although the type of materials used was likely the cause of this result, other extraneous v ariables were not taken into account. Not all students involved in the study attended this school prior to the current school year. Therefore, the background knowledge and experience of playing the xylophone may have affected the students’ performance. Ind ividual student learning abilities within the two groups may have affected retention of skills throughout the four class meetings and

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28 may have affected the understanding of the musical concepts. Finally, the motivation provided by the use of colored pencil s and mallets may have increased student interest in the project. Previous research suggests that use of color materials may increase student retention and music notation reading. The current study indicated this may be true as students notate and perform their own compositions. Further research is needed to corroborate these findings. Results of this study may be useful to elementary music educators. Using the guided composition process with color materials provides students the opportunity to compose and perform successfully. Music educators need not be hesitant to teach composition, even to the youngest of students. If providing students with the aid of color notation and mallets increases their accuracy, educators should consider utilizing this teaching method. As the teacher research in this study, these findings are especially useful to me. Student performances were more accurate when using color materials, and teaching the concepts involved in the composition process was made easier. Coordination of colors between the notation and the mallets was useful when referring to a pitch with the group using color materials. Guided composition with color materials is a teaching method I intend to continue using with young students who have little experience wit h notation. As students master the concepts involved in composing, notating, and performing their own music, color materials may no longer be needed.

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29 APPENDIX A LESSON PLANS Mus ic Le s son Plan Grade L ev e l: 2n d gr a de Date: 9/ 1 0 9/11 Voca b u l ary : be a t, r h yt hm, q u a rt e r n ot e, qua r t e r re s t , e ig h t h n ot es S u n sh i n e S t a te S t a nda r ds Ac h ie v ed: Skills a n d Te c hn i q u es 1 . The stu d ent s i ngs, al o ne a nd w ith others, a vari e d repert oi re of mus i c. M. U . A. 1.1 ( 1 ,2) 2 . The stu d ent performs on instrum e nts, a l one a nd w ith oth e rs, a vari e d repert o ire of musi c . M .U . A. 2 .1 ( 1 ) 3 . The stu d ent re a ds a n d n otates mus i c . M. U . A . 3 .1 ( 1 ) Cr e ati o n a n d Com m uni c ati o n 1 . The stud e nt i mpro v ises m e l o di e s, variat i o n s a n d accomp a n i ments. M. U. B .1.1 ( ) 2 . The stud e nt comp o ses a nd arr a nges mu s ic w ith i n speci f ic gui d eli n es. M . U .B.2 . 1 ( ) Cultu r al a n d His t ori c al C o n n ect i ons 1 . The stud e nt u n derst a nds m usic in relat i on t o culture a nd h i st ory. M . U .C.1. 1 ( ) Aest h etic a n d Crit i ca l A n a l ysis 1 . The stud e nt list e ns to, a nalyz e s, a n d d escrib e s mus i c. M . U. D.1.1 ( ) 2 . The stud e nt eval u ates mus i c a n d music p erforma n ces. M. U . D.2.1 ( ) Applicat i on s to Li f e 1 . The stud e nt u n derst a nds t h e rel at i ons h ip bet w een mu s ic, t he arts, a n d d iscip l i n e s out s ide t h e arts. M .U.E. 1 .1 ( ) 2 . The stud e nt u n derst a nds r elati o ns h ips bet w een m u sic a n d t he w or l d bey o nd t h e sc h ool s etting. M .U. E .2.1 ( ) Obje ct iv e s: TLW si ng on p i t c h. TLW p erfo r m m o v em e n t s t o t he s t e a d y b e a t. TLW no t a te a r hy th m u s i n g i co n i c no t at i o ns a n d q u a rte r no t e s , q ua r t e r r e s t s , an d e ight h no t e s . Co n ce p ts: Exp r e s si on Rh y th m For m M elo dy Ti m b re T e x t u r e /H arm o ny S k i l ls : S i n gi n g Pl ayi n g Mo v i ng Cre at in g Re a d i n g Li s t eni ng / A n al y zi ng Pro c e d u r e: 1 . Goo d mo r n i n g – e cho song 2. St ea dy b e a t mo v e me n t a c t i v i ty – t e a c h er le d , n on locom o tor 3. Fo c u s e d l i s t eni ng q u e s t i o ns : “ Wh a t i ns e c t is i n t hi s rhyme ?” “Wh at hap pe n s t o t he in s e c t? ” “ Who is t h e pe r so n i n t h e r h y me ?” “ Ho w d o e s t h at p ers o n f e e l ?” 4. S pe ak rh y m e . ( O n e , t wo, th re e . M am a c aug h t a fle a. F l ea d i e d , Ma m a c ri e d . O ne , tw o , th re e.) 5. A ns w e r fo c u s e d l i st e ni ng qu e s ti o n s . 6. T e ac h rh ym e b y ro te , e c ho ph r as e b y ph r as e . Cl ap a nd s p e a k r hy thm . Tr an s f er to no n p i t c h e d pe r cu s si on i n s t r u me n t s. 6. N o t at e r hy thm o f word s u s i n g i co n i c no t at i o n o f on e f l e a, t wo fl ea s , o r n o f le as o n a b e a t. 7. D i s co v er s t an dar d no t at i o n o f q ua rt er no te s , q ua r te r r e s ts , an d e i ght h no t e s for r h y me . M a te r ials a n d E q u i p m e nt: n on p i t c hed pe rc us s i on i nst r u m e n t s , f l ea ma g n e t s , r h yt hm no t a t i o n b oa r d Lesso n A ct i v ity: 1 , 2 , 3. Ma m a C aug h t a Fl ea! -Le s so n 1 As s es sm e n t: P erform an c e O b s erv at ion T e chn o log y :

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30 Mus ic Le s son Plan Grade L ev e l: 2n d gr a de Date: 9/ 1 7 9/ 1 8 Voca b u l ary : be a t, r h yt hm, q u a rt e r n ot e, qua r t e r re s t , e ig h t h n ot es S u n sh i n e S t a te S t a nda r ds Ac h ie v ed: Skills a n d Te c hn i q u es 1 . The stu d ent s i ngs, al o ne a nd w ith others, a vari e d repert oi re of mus i c. M. U . A. 1.1 ( 1 ,2) 2 . The stu d ent performs on instrum e nts, a l one a nd w ith oth e rs, a vari e d repert o ire of musi c . M .U . A. 2 .1 ( 1 ) 3 . The stu d ent re a ds a n d n otates mus i c . M. U . A . 3 .1 ( 1 ) Cr e ati o n a n d Com m uni c ati o n 1 . The stu d ent impro v ises m el o di e s, var i ati o ns a n d ac c ompan i ments. M. U. B .1.1 ( 2 ) 2 . The stud e nt comp o ses a nd arr a nges mu s ic w ith i n speci f ic gui d eli n es. M . U .B.2 . 1 ( ) Cultu r al a n d His t ori c al C o n n ect i ons 1 . The stud e nt u n derst a nds m usic in relat i on t o culture a nd h i story. M . U .C.1. 1 ( ) Aest h etic a n d Crit i ca l A n a l ysis 1 . The stud e nt list e ns to, a nalyz e s, a n d d escrib e s mus i c. M . U. D.1.1 ( ) 2 . The stu d e nt eval u ates mus i c a n d music p erforma n ces. M. U . D.2.1 ( ) Applicat i on s to Li f e 1 . The stud e nt u n derst a nds t h e relat i ons h ip bet w een mu s ic, t he arts, a n d d iscip l i n e s out s ide t h e arts. M .U.E. 1 .1 ( ) 2 . The stud e nt u n derst a nds r elati o ns h ips bet w een m u si c a n d t he w or l d bey o nd t h e sc h ool s etting. M .U. E .2.1 ( ) Obje ct iv e s: TLW si ng on p i t c h. TLW no t a te a n d p erfor m a r h y th m u s i n g q ua rt er n ot e s , q u ar t e r r es t s , a n d eig h t h n ot es. TLW no t a te a m elo d y c o n t ain i n g t h e pi tc h e s so l a n d mi. Co n ce p ts: Exp r e s si on Rh y th m For m M elo dy Ti m b re T e x t u r e /H arm o ny S k i l ls : S in gi n g Pl ayi n g Mo v i ng Cre at in g Re a d i n g Li s t eni ng / A n al y zi ng Pro c e d u r e: 1 . Goo d mo r n i n g s o ng – ech o s o ng 2. Re ca l l r h y me fro m p r e v iou s l e s so n . D i s pl a y r hy t h m wi th fl ea n o t a ti o n . Cha n g e to s ta nda r d no t at i o n. 3. Pr a c t i ce w r i ti n g rhy th m of r h y me o n w hit e boar d s . 4. P a t r hy th m o n l eg s , a lt er n ati ng ha nd s . T ra ns f er t o ma ll e t s. Pr ac ti c e wi th ma l l e t s o n kne e s . 5. Mo de l m al l et t ec hni q ue o n x yl o pho n e s . D i s c u ss lo c at io n of h ig h a n d l o w s ou nd s . E x p lor e t he i n st r u men t. 6. I m pro v i s e me lo d y u si ng t h e r hy thm o f th e r h y m e . D i sc us s t he ne e d a n d de si r e to n o t at e s o n g . M a te r ials a n d E q u i p m e nt: flea m ag n e t s, r h yt hm n o t a t i o n b oa r d , w h i t e b oa r d s & ma r ke rs , ma l l e t s , x y lo ph o n es Lesso n A ct i v ity: 1 , 2 , 3. Ma m a C aug h t a Fl ea! -Le s so n 2 As s es sm e n t: P erform an c e O b s erv at ion T e chn o log y :

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31 Mus ic Le s son Plan Grade L ev e l: 2n d gr a de Date: 9/ 249/ 25 Voca b u l ary : be a t, r h yt hm, q u a rt e r n ot e, qua r t e r re s t , e ig h t h n ot es , s o l, mi S u n sh i n e S t a te S t a nda r ds Ac h ie v ed: Skills a n d Te c hn i q u es 1 . The stu d ent s i ngs, al o ne a nd w ith others, a vari e d repert oi re of mus i c. M. U . A. 1.1 ( 1 ,2) 2 . The stu d ent performs on instrum e nts, a l one a nd w ith oth e rs, a vari e d repert o ire of musi c . M .U . A. 2 .1 ( 1 ) 3 . The stu d ent re a ds a n d n otates mus i c . M. U . A . 3 .1 ( 1 ) Cr e ati o n a n d Com m uni c ati o n 1 . The stud e nt impro v ises m e l o di e s, variat i o n s a n d accomp a n i ments. M. U. B .1.1 ( ) 2 . The stu d ent com p oses a nd arr a nges mu s ic w ith i n speci f ic gui d eli n es. M . U .B.2 . 1 ( ) Cultu r al a n d His t ori c al C o n n ect i ons 1 . The stud e nt u n derst a nds m usic in relat i on t o c ulture a nd h i story. M . U .C.1. 1 ( ) Aest h etic a n d Crit i ca l A n a l ysis 1 . The stud e nt list e ns to, a nalyz e s, a n d d escrib e s mus i c. M . U. D.1.1 ( ) 2 . The stud e nt eval u ates mus i c a n d music p erforma n ces. M. U . D.2.1 ( ) Applicat i on s to Li f e 1 . The stud e nt u n de rst a nds t h e relat i ons h ip bet w een mu s ic, t he arts, a n d d iscip l i n e s out s ide t h e arts. M .U.E. 1 .1 ( ) 2 . The stud e nt u n derst a nds r elati o ns h ips bet w een m u sic a n d t he w or l d bey o nd t h e sc h ool s etting. M .U. E .2.1 ( ) Obje ct iv e s: TLW si ng on p i t c h. TLW no t a te a n d p erfor m a r h y th m u s i n g q ua rt er n ot e s , q u ar t e r r es t s , a n d eig h t h n ot es. TLW no t a te a n d p erfor m a m elo dy c o n t aini ng t h e pit ch e s s o l an d mi . Co n ce p ts: Exp r e s si on Rh y th m For m M elo dy Ti m b re T e x t u r e / H arm o ny S k i l ls : S in gi n g Pl ayi n g Mo v i ng Cre at in g Re a d i n g Li s t eni ng / A n al y zi ng Pro c e d u r e : 1 . R e v i e w r h y me fro m p r e v io u s l e s so n an d r h yth m o n t h e c h ar t . 2. Si ng s o l , m i pa tt e r ns u si ng wor d s an d r hy thm fr o m t h e r h y m e . A dd ha n d s i g n s to sh o w h ig h a n d low. 3. D i s co v er no t at i o n o f so l m i p a t t e r n s o n a on e l ine sta f f , n o t at in g s o l (h igh ) s o u n d s a bo v e t h e s t a ff l in e an d m i (l o w) s o un ds b el o w t h e s t a ff l in e. Grou p 1 : U se o n l y bl a c k n o t at io n for p i tc h e s ; Grou p 2 : U s e g ree n n o t e s fo r so l , o r an ge no t e s for mi. 4. C o mpo s e a me lo d y fo r t he r h y m e a s a c la s s o n bo a rd. Pr a c t i ce p l ayi ng on kne es , t h en x ylo p ho n e s . 5. T e l l s t ud e n t s t h at n ex t w ee k t h e y w i l l compo se t h e i r o wn m el o d y for t h e r h y me , choos i n g so l or m i for e ac h n ot e. 6. D i s t r i bu t e a n d s i g n S t ude n t A s s en t Form s . M a te r ials a n d E q u i p m e nt: malle t s , x y l op ho ne s , S tu d e n t As s e n t F o r ms Lesso n A ct i v ity: 1 , 2 , 3. Ma m a C aug h t a Fl ea! -Le s so n 3 As s es sm e n t: P erform an c e O b s erv at ion T e chn o log y :

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32 Mus ic Le s son Plan Grade L ev e l : 2n d gr a de Date: 1 0/ 1 10 /2 Voca b u l ary : be a t, r h yt hm, q u a rt e r n ot e, qua r t e r re s t , e ig h t h n ot es , s o l, mi, c omp o se S u n sh i n e S t a te S t a nda r ds Ac h ie v ed: Skills a n d Te c hn i q u es 1 . The stu d ent s i ngs, al o ne a nd w ith others, a vari e d repert oi re of mus i c. M. U . A. 1 . 2 (1, 2 ) 2 . The stu d ent performs on instrum e nts, a l one a nd w ith oth e rs, a va ri e d repert o ire of musi c . M .U . A. 2 .2 ( ) 3 . The stu d ent re a ds a n d n otates mus i c . M. U . A . 3 .2 ( ) Cr e ati o n a n d Com m uni c ati o n 1 . The stud e nt impro v ises m e l o di e s, variat i o n s a n d accomp a n i ments. M. U. B .1.2 ( ) 2 . The stu d ent com p oses a nd arr a nges mu s ic w ith i n speci f ic gui d eli n es. M . U .B.2 . 2 ( ) Cultu r al a n d His t ori c al C o n n ect i ons 1 . The stud e nt u n derst a nds m usic in relat i on t o culture a nd h i story. M . U .C.1 . 2 ( ) Aest h etic a n d Crit i ca l A n a l ysis 1 . The stu d ent list e ns to, a naly z es, a n d desc r ibes mu s ic. M . U .D.1.2 ( ) 2 . The stud e nt eval u ates mus i c a n d music p erforma n ces. M. U . D.2.2 ( ) Applicat i on s to Li f e 1 . The stud e nt u n derst a nds t h e relat i ons h ip bet w een mu s ic, t he arts, a n d d iscip l i n e s out s ide t h e arts. M .U.E. 1 .2 ( ) 2 . The stud e nt u n derst a nd s r elati o ns h ips bet w een m u sic a n d t he w or l d bey o nd t h e sc h ool s etting. M .U. E .2 . 2 ( ) Obje ct iv e s: TLW si ng on p i t c h. TLW no t a te a n d p erfor m a r h y th m u s i n g q ua rt er n ot e s , q u ar t e r r es t s , a n d eig h t h n ot es. TLW c re a t e a n d p erfor m a m elo d y c o nt ain i n g t h e pit ch e s s o l an d mi . Co n ce p ts: Exp r e s si on Rh y th m For m M elo dy Ti m b re T e x t u r e /H arm o ny S k i l ls : S in gi n g Pl ayi n g Mo v i ng Cre at in g Re a d i n g Li s t eni ng / A n al y zi ng Pro c e d u r e: 1 . Goo d mo r n i n g s o ng – ech o s o ng 2. Re v ie w r e a d i n g a n d p l ayi ng so l , m i p a t t e r n s o n xyl opho n es . 3. D i s t r i bu t e t e ac h er pr e pa r e d co m po s i t i o n t em p l at es. Grou p 1 : r e g u l ar pe n c i l s o n l y Grou p 2 : g ree n c o lor e d p en c i l fo r so l , o r an g e c o lor ed p e n c i l fo r m i 4. Mo de l al i g ni ng n ot es w it h wo r ds ; al lo w s t ud e n t s t o cho o s e a n d n o t a t e th e i r o w n m e lo di es. 5. Pr a c t i ce in d i v i d u al m el o d i e s a t i n s tr u m en ts. Grou p 1 : n o n colo r e d , n e u tr a l ma ll ets Grou p 2 : g ree n m al le t for s o l , or a n g e m al le t for m i 6. A l low e ach s tu d en t to p erfo r m o w n c o mpo s i t i o n f r om t he ir n o t a ti o n . R eco r d e a ch p erfo r m a n ce for la t e r sco ri ng. M a te r ials a n d E q u i p m e nt: malle t s , x y l op ho ne s , c om p o sitio n t empl a t e s, p e n c il s Lesso n A ct i v ity: 1 , 2 , 3. Ma m a C aug h t a Fl ea! -Le s so n 4 As s es sm e n t: S um m at i v e As se ssme n t S t ude n t Compo si ti o ns T e chn o log y : Fl i p C am era

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33 APPENDIX B INSTITUTIONAL REVIEW BOARD LETTER

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34 APPENDIX C PARENTAL CONSENT FORM

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35

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36 APPENDIX D STUDENT ASSENT FORM

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37 LIST OF REFERENCES Brophy, T. S. (1996). Building music literacy with guided composition. Music Educators Journal, 83 (3), 15 18. Cutietta, R. A., & Haggerty, K. J. (1987). A comparative study of color association with music at various age levels. Journal of Research in Music Education, 35(2), 78 91. Ginocchio, J. (2003). Making composition work in your music program. Music Educators Journal, 90 (1), 51 55. Green, L. (2005). The music curriculum as lived experi ence: Children's "natural" music learning processes. Music Educators Journal, 91(4), 27 32. Hickey, M. (1999). Assessment rubrics for music composition. Music Educators Journal, 85(4), 26 33. Hughes, A. and GersonKiwi, E. (n.d.). Solmization. Retrieved Oc tober 4, 2009, from Grove Music Online Web site: http://www.oxfordmusiconline.com.lp.hscl.ufl. edu/ subscriber/article/grove/music/26154 Jetter, J. T. (1977). A systematic approach to aural visual identification instruction in music for young children. Journal of Research in Music Education, 25(1), 21 31. Lehman, P. (2008). A vision for the future: looking at the standards. Music Educators Journal, 94 (4), 28 32. MENC Task Force for National Standards in the Arts, & Music Educators National Conference (U.S.) . (1994). The school music program: A new vision: The K 12 national standards, preK standards, and what they mean to music educators . Reston, VA: Music Educators National Conference. Moore, B. R. (1990). The relationship between curriculum and learner: Mus ic composition and learning style. Journal of Research in Music Education, 38(1), 2438. Reimer, B. (1970). A Philosophy of Music Education. Englewood Cliffs, NJ: Prentice Hall, Inc. Rogers, G. L. (1991). Effect of color coded notation on music achievement of elementary instrumental students. Journal of Research in Music Education, 39(1), 6473. Rogers, G. L. (1996). Effect of colored rhythmic notation on music reading skills of elementary students. Journal of Research in Music Education, 44(1), 15 25.

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38 BI OGRAPHICAL SKETCH Lacey Anne Cupp earned a Bachelor of Music Education degree from Missouri State University in Springfield, Missouri, in December 2004, graduating with honors, summa cum laude. While a student at Missouri State, Lacey was a member of the C oncert Chorale under the direction of Dr. Guy Webb and studied voice with Dr. Rose Mary Owens. Lacey was also a member of a student organized female a cappella group. Upon graduation, she moved to Gainesville, Florida and began teaching chorus and piano ke yboarding at Buchholz High School. She then taught general music in Gainesville at Norton Elementary School for 2 years. The following school year, Lacey began teaching general music in Marion County, at Reddick Collier Elementary School. She then returned to Alachua County and began teaching general music and gifted education at Waldo Community School. Lacey also owns and operates Kindermusik with Lacey Cupp, as a licensed Kindermusik Educator providing a music education curriculum to preschool aged childr en. After completing her Master of Music degree, Lacey plans to continue to teach elementary music.


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